[Auszug]
You wish to communicate an idea and its concomitant emotions, or an emotion and its concomitant ideas, or a sensation and its derivative emotions, or an impression that is emotive, etc. etc. etc. You begin with the yeowl and the bark, and you develop into the dance and into music, and into music with words, and finally into words with music, and finally into words with a vague adumbration of music, words suggestive of music, words measured, or words in a rhythm that preserves some accurate trait of the emotive impression, or of the sheer character of the fostering or parental emotion.
When this rhythm, or when the vowel and consonantal melody or sequence seems truly to bear the trace of emotion which the poem (for we have come at last to the poem) is intended to communicate, we say that this part of the work is good. And "this [195] part of the work" is by now "technique". That "dry, dull, pedantic" technique, that all bad artists rail against. It is only a part of technique, it is rhythm, cadence, and the arrangement of sounds.
Erstdruck und Druckvorlage
The New Freewoman.
Bd. 1, Nr. 10, 1. November 1913, S. 194-195.
Gezeichnet: Ezra Pound.
Unser Auszug: S. 194-195.
Die Textwiedergabe erfolgt nach dem ersten Druck
(Editionsrichtlinien).
Zeitschriften-Repertorium
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Edition
Lyriktheorie » R. Brandmeyer